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  • Richard Sieburth - Signs in Action PDF

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    83 visualizações10 páginas

    Richard Sieburth - Signs in Action PDF

    Enviado por

    flapinni

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    Signs in Action Pound/Michaux RICHARD SIEBURTH ~ qs Of Languages HENRI MICHAUX asad by Rich Sb Red Dust + New York ‘So Ain Radi wa deere a ere a le ‘Mood Sm Now ark Uniersy seng 83 Cop © Radar Scart 187 “The qoton cm Gas Sob’ atin of Hone chap {nh are wed by perinin a New Dreons Pubhing Care ee Minos 1875, Tain, Copsight 1894 ne Gusrar Sonn of tsp originally append Des lngge td ies Pong onic de stn deer” Prd is Hen Mics publi yp Ft gona in 88 Copyright faa Morgana 1988 apg © Rar Ser 187 lh by Rs Dut ne Libery of Const Cad Ctl Number 47-062899 ISBN o-8776-07-9 “The ution fh Rok hi een ade pnb in pay 2 grt eo (he Natal nen rhe Are in Visio, DC 9 Fea ee Note “The following essay was deivredas lecture at a cllgiam ‘on “Michaux and Sgn” held t New York Univeraty ince spring T1985. tightly cifeent version hasbeen published ina ape iue of spi Citar devoted tothe work of Henry Micha "voli tothank New Directions and Gusta Sabin fr po mission to quote extensively fom the English tandation of Michaun’s degre in Cina Thave alto appended » translation of one of Micha’ Ist texte om signs, Des languages et des ceritures/ Pourquoi Penve doen deturnes” taken fm his Pl tm, ube by Pata “Mergana in 184 —whom I would alia ike thank for eating prison wo reproduce the pcograms tht aecompany the poem alike to begin by evoking a ransltion that never sa the Zn Inhis obituary memoir of Bara Pound, Guy Davenpor notes ‘hat during his final years im Venice i mir fade. having aba done his nor asa colossal botch, having edged farther and se ther int silence, was nevertheless contemplating & translation of Henry Micha’ Iiigrmamerox Chine. Pound's health was illing. aswashiseonfiéence inthe word, an apparently afer a ew lee Stars he projet wa set aside It was lef oa younger American poet, Gustaf Sobin, to complete the task—with the reek that ‘Michaus’s Imex Chia wa nally made awl to Engl speaking readers in 184, published, eppropritly enough, under the Poundian imprint of New Directions as laterday comple: ‘ment (she blurb reads) t9 Pound and Ernest evolomclatsie study, The Chine Water Character a @ Mati for Pay* Literary history is ofcourse led with such aed encounters— laogues abandoned en out, abored conversations but taecia tome that the uncture of Pound and Michaux, however tentovs however mate it might have been, is expecially resonant, for here was Pound atthe dusk af his earecr circling back to beginning, Feturning ence again tothe ideograme fe had fist learned hharuspicate in 1913 with the ai of Fenollor's manuscript onthe (Chinese character, and returning, moceover in de company of French post whose ow graphic and literary work had since the Jate 20s boen engaging the gst and gesture of Chinese idengram ‘wih an intensity and an originality matches by few oxher arate ofthe 2th century. ‘A trandlation of a French poe's meditations on Chinese calligraphy—the configuration typically Poundian (thik of the first Canto, anslaion into Anglo-Saxonized English of 3 [Renaissance Latin version of Hontet), And if Mithaus French prose poctry acs as 2 mediator in this transaction between East and Wet, Chinese and English cis too is another memory of beginnings, a trace ofthe China Potnd fet iscovred in French fuuse-whether ibe vin Pauthiee’s versions of Confucius or vie JJoith Gautier’ Lie dead whore delicate citer Pound weuld “extend into the haiku condensation ofthe Lmais yor the poems of Catlay (915). Pound's Ghina, a realm where Menius fala ta Mustlini ane! Confucius converses with the Adams ‘dynasty in an idiom that blends the civic apothegs ofthe En- ‘eloped with the hermetic evanescence of a Mallarmé, is an Imaginary kingdom a quirky as any of tho to be found in ‘Michaux’ Hue on Gran Garlagne 1 take Pound’s lt, set dialogue with Mich grams en Chine a fina, fled gestare toward tis iteaginary China-~a las visit the Expire of Sigos ((ouse Barthes term) or (ane prefers Genete) belated eguage 1 Cnilie Blanchot observes in anesayon Michaux and Borges that one ofthe tasks oferta i to render sll comparison impossible would eerefor like o proceed by simply juxtaposing aes than ‘ely comparing, Pound's and Michaux’ encounters with the (Chinese character im thehopethat sucha juxtaposition might tell, ‘otsomebing about larger ines inwolving modernism, Cray, lind the poets the ig, Tse the erm justaposon deliberately because is damental what Found calls the “deogrammic method” a metiod that underlies both the focal and didactic design of the Centr, Pound called his poetics “ideogrammic” bpcates he flowed the snologist Fenallos in believing (righty for wrongly) thatthe sense of tadividual Chinese characters was ‘isibly generated by the juxtaposition of their graphic (or ‘aphemic) components, Fenollosa writes, for example: ‘eimai rita yp ily is ed te Eyre fonds ges ot ce ie a ge mete! in er Be cle he aga Se ein mm od foe I) "The key term here it elation, fr as Fenllosa writes elsewhere in this same essay (pedirng the structural): "Relations are more fealand more important han the things they rate (p. 2). Which Pound footnotes "Compare Avital’ Poetics: ‘Swit perception of eatons, hallmark of geniu?” Such “wif preepion of relations,” associated by Avital wits th nation of metaphor what a poo ie Pods SS "ina Satan ofthe Metta is ut to eco and insite The origin printngemplaiaed he intel thetponcute he poe, tach semantic or FAylhnc cuter faetonng a 9 ere, stonomous character thee eharaces Co ea ne Tet i ot raat i ot “Tas tehniqu of eogrammic juxtaposition, il lave si ple sd saigorvad in Pound’ "Metra hai, tapped a {inner fie nthe Gv Ont ed oe mt as plain lon dang, raging om single words og aes Ioeampite ins otek of nso ete Canoe seteecas 5 Cantos. Rather tan expiyanulasing te eye (or crave) connectives been te ss thu josapne sar than sibordinating ont another (pean) Pod nad Siutes hs mater side by side onthe sme Matsa ot Exhivlent nts design (arta). Pund parted ton of ering nla paras has cute bees quent compared to modernist practi of eolege or asembag, Dus worth emphasizing hat he conceived hs poetic meted nt on yin the context of avant gud expen, bt as teary of something profoundly tational arcaic—afer al boy ie compound gph and seman sacar oth Chine ureter fd the prec pastas of cassia Chins post seed prot ough that other languages, other grammar fa were need peste” Sere setts, fr oney came fo mle concusions Sou the unpaved linguistic posbiliesofcinematie moninge ter udying Chine eograms 8 witced by the ile a 192 esay, "The Cinernatographi Principe sd the Teoh” text cough contemporary with Michaux ft grape etme ith hoe maginay habetso cures heal "pam comp rca ig rans Bienen Micha erica cram Somprited of ire mane werking in thre sient media, here ase nat idee era he Ciena fom thetimeot cna the way Up to Sle as tend to apech brimariy to Western ons and ths dempe te fot that 90% af {Ginesetharaterr arin et lo compo Te Imag Pound was delighted o find in Chinese language of ign 0 pic. ‘orally suggeaive that his [end the French sculptor Gaudier Braeska could pick up 2 Chinese dictionary and efforts read ¢he forms of many radicals at sight. Pound's mentor Penalles Heepelaae wat inthe American Transcendental tradition, ‘urage hs conviction that Chinese was pefeetoatral language Since it represented not sounds, but rather the “visible hierwelyphies" of Natue el. Tae, for example, Fenollos’s gos, fon the Chinese sentence "Man see hore” hia iin ha han ry aba 1 Ba ow a sd tr of pots of ee. en ee Riper hes tel tin een god ‘Sento terri Da Che tn er ae ngs ‘Pon ears ge Sad mas gh ae fiw nt yr ern TR on eae Fig ap tng teas ty a ae Te ppt ‘elf tri enorme pe. 93) A hk S& one wanted to translate Fenolloe analysis nc jakobsoni terms, ane could say that according o this account, the poetic func tion of Chinese foreground by the visa form of te signer itself one can actually se how the axis of selection (the legs he ‘three characters hae in common) hasbeen projected onto the exis of combination For Fenollora the Chinese character ieintinsieally poetic in another in another sense aswel frit bears its metaphor ‘nits face" (p28) the sign for sun glows like a sun, the sgh for tee growsike atte, and when you combine the tw, entanging the am radial in the branches af the tee, you have represented East One need only leaf through Genette’s Minaagiqa to recognize Fenolo’s mirage ofa non-abitary, fully motivated Tnnguage a & mir sata of Cratyli. Indeed, commenting ‘on Claudel 1898 “Religion du signe” (included in Comaizonee “LUE ana bi ater grammes cei (1920), Genet observes thar dhe Chinese logogram hastened o ply the same coin 200 century Craylso d toh. Fenelon picture decry of Chinese however doesnot merely ‘eat on the aaumption of one-torone corespondence between the sign and that represent, rates, be is mare concerned with gous oF ston of sighs, with sign in relation, in movement prowsss* Hence the emphasis on Chinese asa cinematic "mov tng picwe!" on Chinese word order asa “transference of power” fom agent. objors,andhence te insstence that Chines com pose not of nouns, but ef verbs: ‘nt po ays ing pf te oti ‘Ree rman td ber eo ae ge Ge an at pet hp 0) “Things in motion, motion in chings"the mitmology proposed here is based lees (to use Peirce’ terminology) on the ionic ‘eveulance betwoon the sign andl what it represents than an indexcal relation of cauality or contiguity between te oo. Tn ‘ded if Fencllos or Pound consider Chinese che ial medium Tor poetry, iis because its characters setualy mime or respond tothe very process of Nature language whose sigs are visibly patterned by the primal energies of the elements (much as, in Peirces expe ofthe indexieal sign, the wind eause the weather sane to regter its direction). Answering oa nase, amature inproceay in che aking, Chinese writing thus becomes asa ‘eis, writing in and of process. Fenllsas post-Romanticin- Snence on eri ver en ("the ver must be te primary ct ‘of ature” "The cherry tre llth ic dae") no only hada great ‘eal todo with Pound's own drift from esthetician ino activist polis (poeta that he does, however grievously he might err In the proves), but it alan served to shape his conception of the Cant aa kind of gigantic Action Pocrs—net an autonomous tex tual artifact, not «noun, buta ver, an ongoing enactment of in dividual and collective proces, a peeformative experiment open to whatever might at the moment be at hand, including ts Own, Jncompletion of event ruin Thive deters borrowed ch in fan Acton Poem fom the vocabulary of oder art history (i wae Harold Rosenberg, che Egyptian hieroglyph played in he ‘sho was the fit to speak of Action Painting because it provides an obvious bridge into Michaus-—poet, painter, actor, in short, inseiber of actions or agons on canvas or page, performer of ramati events that invite reading assigns, nee of saovement, ‘eset of gesture. Scholars of Michaus concur in emphasing the centrality of fe gate to his entire work whether it be the ‘onomatopoetic vocal gesticulation of Michavaés “nonsense” vise forthe ealigraphie pantomime that isa trademark of his draw ings* Michaux describes a fllows the process recorded in ‘Meweneeu, «series of some 1200 sheets of iceogrammic signs enacted in exe de Cine oer the course of 1950:31 "Te involved irstures, interiors, for which we have a ibs at or depos but Daly the desieoflabs, tensions, clans, ll mace upofivng cor fever thick, never swollen with Mesh or enclosed in skin Genres incarnating, dramatizing something bey or before the body, gestures realizing themselies ino assigns, the sheer genera: tion o proliferation a which alle Michaux o leave wards Behind 10 pity ma ote pl fo wks oy bn 8 tinge msn nd iva os, ha rc ‘fr men xe fie ao pi Iw ‘ae in ok om he eel ea ng ee atiag wl wel foe i el foe {ove orn ate pp en “Toysich one might juntpos Julia Kren say on gesture in Smith afi ty nen noes fps lution, sher expends ther wordy ava cemioic practice that puts int quastion no only the conventional communi function of eb language, bu more cucally te phonocene Priority generally accorded to vice by Wiser linguists and Imetaphysice." Kristeva bass such of her notion of gesture on ‘ehang Teheng Ming's Btn hint gt e193) the ‘ery same book i tras ot, that apr Claudel La hire, le mouvement ele gene dan Teeture en Chine et en Occ dent” Although Keiseva wants conser gesture notin terms Of epresentaton or expresion, but ithe kd of anaphora tines in the Fran ve of dann) her ocnbulnyody Cchows Feo "Beare and behind pte and cing there Snaphora the getore that dt, tha insite lafins tnd Sliminates enn The semiotic sytem ofthe Dagon [Rvs seniocpin nw migrates roms China to Ac whih in he end ‘Sem tobe mmseatarrura seman sth a eb one ‘Sth based on nan: fo they, tear 0 ape ea ‘inde by cacing”™ "Thi rranary Desdean ho origi, which tgs the aoterorty feng; ng. tng me oper Brinson o Micatns own a dongs to quot he le of the or his erie books 92). in hr semintbographicl ‘Bnew Sug (7), hee rg soy fiom er tener pater the beginning wa the ne the ace, He {Tres ae doi of space ne i iE fol te ne a, ripen i by (i, ena nd mg ag fe ‘ef itd hig ew at oo ny ed sare wal as “hisintne at her proces, having no erative than it ‘plontay uoveral otic fd ofthe page Thar nomad Malis sma no ey chic and pips et that have converged onthe poe Weim own verona of wuneaisicasomantoking But have ‘enlimelTovrto ae to pare oenr or fat Nem oon finds hana confontng sigs ges rege covered thi guy upto be als peg oe grb) aromas an oles ranged ito fro of wring Heer Michaors restopestve sent ofthese Apes or Nats tat he dewforte 197 te sigs in sis Se et Ta haya en, bt poetics Sat eae tesa tg or ‘Pee co aoe a el i hag Sty erg (hey Bs se oi bt pn oma ‘On heone had, Michaw’s move from the single unbroken fine fnwo series of signe etnbodice an ater to discover a kind of language or emit sytem that goes beyond (or before) the con~ ‘entionalzed marks of writing pictorial epeesentation-—a seis ‘tuigaiien without signifies (or rather, that would spl signily therdesie torte dra, naeibe, sign), a purely privat alphabet that would fe hin om having speak (o re ike ayboe ti amscezsin ofsgn that one might rm sagas (omer tn th ode fthe li ole he as experimenting ith

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